Introduction

Recorded Presentation
## Executive Summary Tate is a museum that houses the United Kingdom’s national collection of British art, and international modern and contemporary art. Recently, Tate announced an urgent need for more space. Therefore, for this project we are acting in the role of consultants who are helping the museum inventory its collection in preparation for a possible expansion. Our initial task as consultants is to explore and understand the nature of the artists and the artwork that are available at Tate. Exploring our dataset will help us understand what Tate has, how they should expand their collection, how to diversify the artists and art medium, as well as what types of artwork they can feasibly adde to their collection space-wise.

Our datasets

The two datasets include one dataset that has metadata for around 70,000 artworks that Tate owns or jointly owns with the National Galleries of Scotland, and a dataset with 3,500 associated artists. Some of the artwork attributes contained in this dataset that we used are the country of origin, artwork medium, size, year, and artist. Some of the artist attributes that we used included, year, artworks associated with them, and gender. A full data dictionary description can be seen below.

https://www.kaggle.com/rtatman/the-tate-collection
https://www.kaggle.com/vivianapinto/the-tate-artists

Artwork Data Dictionary
Feature.Name Data.Definition
id Unique id assigned to each artist
name Artist name
gender Artist gender
dates Unparsed birth date and death date associated with artist
yearOfBirth Year of artist birth
yearOfDeath Year of artist death
placeofBirth City, Country of Birth
placeofDeath City, Country of Death
url Tate URL associated with artist
Artist Data Dictionary
Feature.Name Data.Definition
id unique id identifying each piece of artwork
accession_number unique number assigned when artwork was acquired by museum
artist Artist associated with artwork
artistRole The role the artists played in artwork production
artistId Artist ID corresponding to artist dataset
title The title of artwork
dateText Year of artwork (as labeled on artwork)
medium The medium in which the artwork was produced
creditLine Information on acquisition of artwork
year Year of artwork (corresponds to dateText)
acquisitionYear Year artwork was acquired
dimensions Unparsed string describing dimension of artwork
width Width of artwork
height Height of artwork
depth Depth of artwork
units Dimensional units of artwork given in previous fields
inscription Any inscription included in artwork
thumnailCopyright Organization which holds copyright to artwork
thumbnailUrl URL of thumbnail image stored on Tate servers
url URL of artwork image stored on Tate servers

Data Clean and Data Transformation

Before starting our analysis, we need to clean both our artwork and artist data. Our data cleaning process includes:

  • Removing non-UTF-8 characters from datasets
  • Normalizing empty data fields to be uniform
  • Parsing city,country field into their separate components
  • Combining length and width into an area field
  • Filled missing ‘year’ data with a simple algorithm of using 3/4 of the artist age as the year of the artwork. This is a subjective choice by our consulting team.

After our data has been cleaned we merged our dataset, and save it as an r-formatted .rdata file

Here is a subset sample of our cleaned dataset:

name gender dates yearOfBirth yearOfDeath placeOfBirth city country placeOfDeath title dateText medium year acquisitionYear dimensions width height
Abbey, Edwin Austin Male 1852-1911 1852 1911 Philadelphia, United States Philadelphia United States London, United Kingdom Illustration to ‘She Stoops to Conquer’ 1885 Ink on paper 1885 1924 support: 267 x 413 mm 267 413
Abbey, Edwin Austin Male 1852-1911 1852 1911 Philadelphia, United States Philadelphia United States London, United Kingdom The Letter 1890 Ink on paper 1890 1924 support: 305 x 267 mm 305 267
Abbey, Edwin Austin Male 1852-1911 1852 1911 Philadelphia, United States Philadelphia United States London, United Kingdom Illustration to ‘The Leather Bottel’ 1887 Ink on paper 1887 1924 support: 260 x 286 mm 260 286
Abbey, Edwin Austin Male 1852-1911 1852 1911 Philadelphia, United States Philadelphia United States London, United Kingdom Illustration to ‘She Stoops to Conquer’ c.1882-7 Ink on paper 1882 1924 support: 251 x 295 mm 251 295
Abbey, Edwin Austin Male 1852-1911 1852 1911 Philadelphia, United States Philadelphia United States London, United Kingdom Illustration to ‘Judith Shakespeare’ 1883 Ink on paper 1883 1924 support: 305 x 419 mm 305 419
Abbey, Edwin Austin Male 1852-1911 1852 1911 Philadelphia, United States Philadelphia United States London, United Kingdom Illustration to ‘Sally in our Alley’ 1886 Ink on paper 1886 1924 support: 394 x 254 mm 394 254
Abbott, Lemuel Francis Male 1760-1803 1760 1803 Leicestershire, United Kingdom Leicestershire United Kingdom London, United Kingdom Portrait of the Engraver Francesco Bartolozzi date not known Oil paint on canvas 1896 1968 support: 756 x 676 mm 756 676
Abbott, Lemuel Francis Male 1760-1803 1760 1803 Leicestershire, United Kingdom Leicestershire United Kingdom London, United Kingdom Henry Byne, of Carshalton date not known Oil paint on canvas 1896 1885 support: 737 x 610 mm frame: 935 x 812 x 80 mm 737 610
Agasse, Jacques Laurent Male 1767-1849 1767 1849 Geneve, Schweiz Geneve Schweiz London, United Kingdom Two Hunters with a Groom c.1805 Oil paint on canvas 1805 1979 support: 638 x 759 mm frame: 805 x 925 x 87 mm 638 759
Agasse, Jacques Laurent Male 1767-1849 1767 1849 Geneve, Schweiz Geneve Schweiz London, United Kingdom Lord Rivers’s Groom Leading a Chestnut Hunter towards a Coursing Party in Hampshire 1807 Oil paint on canvas 1807 1979 support: 660 x 625 mm frame: 849 x 788 x 90 mm 660 625
Alken, Henry Thomas Male 1785-1851 1785 1851 London, United Kingdom London United Kingdom London, United Kingdom A Hunting Scene date not known Graphite on paper 1896 1997 support: 96 x 355 mm 96 355
Alken, Henry Thomas Male 1785-1851 1785 1851 London, United Kingdom London United Kingdom London, United Kingdom The Belvoir Hunt: The Meet c.1830-40 Oil paint on canvas 1830 1979 support: 451 x 648 mm 451 648
Alken, Henry Thomas Male 1785-1851 1785 1851 London, United Kingdom London United Kingdom London, United Kingdom The Belvoir Hunt: The Death c.1830-40 Oil paint on canvas 1830 1979 support: 451 x 648 mm 451 648
Alken, Henry Thomas Male 1785-1851 1785 1851 London, United Kingdom London United Kingdom London, United Kingdom The Belvoir Hunt: Jumping into and out of a Lane c.1830-40 Oil paint on canvas 1830 1979 support: 451 x 648 mm 451 648
Alken, Henry Thomas Male 1785-1851 1785 1851 London, United Kingdom London United Kingdom London, United Kingdom The Belvoir Hunt: Full Cry c.1830-40 Oil paint on canvas 1830 1979 support: 451 x 648 mm 451 648
Allan, Sir William Male 1782-1850 1782 1850 Edinburgh, United Kingdom Edinburgh United Kingdom Edinburgh, United Kingdom Tartar Robbers Dividing Spoil 1817, exhibited 1817 Oil paint on mahogany 1817 1847 support: 641 x 521 mm frame: 919 x 802 x 58mm 641 521
Allen, Joseph William Male 1803-1852 1803 1852 Lambeth, United Kingdom Lambeth United Kingdom London, United Kingdom A Landscape date not known Oil paint on canvas 1896 1902 support: 787 x 1206 mm frame: 1156 x 1575 x 240 mm 787 1206
Alma-Tadema, Sir Lawrence Male 1836-1912 1836 1912 Dronrijp, Nederland Dronrijp Nederland Wiesbaden, Deutschland A Favourite Custom 1909 Oil on wood 1909 1909 support: 660 x 451 mm frame: 957 x 751 x 83 mm 660 451
Alma-Tadema, Sir Lawrence Male 1836-1912 1836 1912 Dronrijp, Nederland Dronrijp Nederland Wiesbaden, Deutschland A Priestess of Apollo ?c.1888 Oil paint on canvas 1888 1938 support: 349 x 298 mm 349 298
Alma-Tadema, Sir Lawrence Male 1836-1912 1836 1912 Dronrijp, Nederland Dronrijp Nederland Wiesbaden, Deutschland Sunday Morning ?1871 Oil paint on wood 1871 1920 support: 400 x 330 mm frame: 688 x 622 x 97 mm 400 330
Alma-Tadema, Sir Lawrence Male 1836-1912 1836 1912 Dronrijp, Nederland Dronrijp Nederland Wiesbaden, Deutschland A Foregone Conclusion 1885 Oil paint on wood 1885 1920 support: 311 x 229 mm frame: 602 x 525 x 60 mm 311 229
Alma-Tadema, Sir Lawrence Male 1836-1912 1836 1912 Dronrijp, Nederland Dronrijp Nederland Wiesbaden, Deutschland A Silent Greeting 1889 Oil paint on wood 1889 1894 support: 305 x 229 mm frame: 563 x 487 x 83 mm 305 229
Amiconi, Giacomo Male 1682-1752 1682 1752 Napoli, Italia Napoli Italia Madrid, España Portrait of a Man date not known Ink, watercolour and gouache on paper 1896 1997 support: 203 x 287 mm 203 287
Amiconi, Giacomo Male 1682-1752 1682 1752 Napoli, Italia Napoli Italia Madrid, España Mercury About to Slay Argus 1730-2 Oil paint on canvas 1730 1971 support: 655 x 645 mm frame: 730 x 720 x 72 mm 655 645
Anderton, Henry Male c.1630-1665 1630 1665 NA Mountain Landscape with Dancing Shepherd c.1650-60 Oil paint on canvas 1650 1983 support: 457 x 597 mm frame: 621 x 761 x 87 mm 457 597
Angellis, Peter Male 1685-1734 1685 1734 Dunkerque, France Dunkerque France Rennes, France Conversation Piece c.1715-20 Oil paint on canvas 1715 1965 support: 937 x 797 mm 937 797
Ansdell, Richard Male 1815-1885 1815 1885 Liverpool, United Kingdom Liverpool United Kingdom London, United Kingdom A Ploughing Match date not known Oil paint on canvas 1896 1935 support: 781 x 1346 mm frame: 915 x 1475 x 93 mm 781 1346
Armitage, Edward Male 1817-1896 1817 1896 London, United Kingdom London United Kingdom Royal Tunbridge Wells, United Kingdom The Remorse of Judas 1866 Oil paint on canvas 1866 1866 support: 1276 x 2013 mm frame: 1590 x 2327 x 150 mm 1276 2013
Armstead, Henry Hugh Male 1828-1905 1828 1905 London, United Kingdom London United Kingdom Remorse 1903 Marble 1903 1903 object: 1029 x 889 x 489 mm 1029 889
Armstead, Henry Hugh Male 1828-1905 1828 1905 London, United Kingdom London United Kingdom Hero and Leander c.1875 Marble 1875 1906 object: 1257 x 1829 mm 1257 1829
Arnald, George Male 1763-1841 1763 1841 Berkshire, United Kingdom Berkshire United Kingdom View on the Ouse at York ?exhibited 1803 Oil paint on canvas 1803 1884 support: 1118 x 1410 mm frame: 1404 x 1690 x 83 mm 1118 1410
Atkins, Samuel Male 1787-1808 1787 1808 NA Shakespeare’s Cliff, Dover date not known Watercolour on paper 1792 1967 support: 340 x 479 mm 340 479
Aumonier, James Male 1832-1911 1832 1911 NA Sheep-Washing in Sussex exhibited 1889 Oil paint on canvas 1889 1889 support: 959 x 1657 mm frame: 1330 x 2025 x 155 mm 959 1657
Aumonier, James Male 1832-1911 1832 1911 NA The Black Mountains exhibited 1905 Oil paint on canvas 1905 1905 support: 1219 x 1829 mm 1219 1829
Baily, Edward Hodges Male 1788-1867 1788 1867 Bristol, United Kingdom Bristol United Kingdom Islington, United Kingdom The First Duke of Wellington (after Joseph Nollekens) c.1828-30 Marble 1828 1847 object: 787 x 635 x 381 mm 787 635
Baily, Edward Hodges Male 1788-1867 1788 1867 Bristol, United Kingdom Bristol United Kingdom Islington, United Kingdom George Canning (after Joseph Nollekens) 1829 Marble 1829 1847 object: 724 x 508 x 279 mm 724 508
Barenger, James Male 1780-1831 1780 1831 London, United Kingdom London United Kingdom London, United Kingdom Jonathan Griffin, Huntsman to the Earl of Derby’s Staghounds 1813 Oil paint on canvas 1813 1979 support: 1016 x 1270 mm 1016 1270
Barker, Thomas, of Bath Male 1769-1847 1769 1847 Pontypool, United Kingdom Pontypool United Kingdom Bath, United Kingdom Self-Portrait c.1796 Oil paint on canvas 1796 1939 support: 756 x 629 mm 756 629
Barker, Thomas, of Bath Male 1769-1847 1769 1847 Pontypool, United Kingdom Pontypool United Kingdom Bath, United Kingdom Getting in Clover: Noon 1807 Oil paint on canvas 1807 1878 support: 660 x 991 mm frame: 952 x 1285 x 132 mm 660 991
Barker, Thomas, of Bath Male 1769-1847 1769 1847 Pontypool, United Kingdom Pontypool United Kingdom Bath, United Kingdom Landscape, near Bath c.1798 Oil paint on canvas 1798 1926 support: 815 x 1070 mm 815 1070
Barker, Thomas, of Bath Male 1769-1847 1769 1847 Pontypool, United Kingdom Pontypool United Kingdom Bath, United Kingdom The Woodman and his Dog in a Storm c.1787 Oil paint on canvas 1787 1868 support: 2362 x 1486 mm 2362 1486
Barker, Thomas, of Bath Male 1769-1847 1769 1847 Pontypool, United Kingdom Pontypool United Kingdom Bath, United Kingdom Landscape c.1800 Oil paint on canvas 1800 1854 support: 762 x 610 mm frame: 941 x 789 x 122 mm 762 610
Barker, Thomas, of Bath Male 1769-1847 1769 1847 Pontypool, United Kingdom Pontypool United Kingdom Bath, United Kingdom Landscape with Figures and Sheep c.1815 Oil paint on canvas 1815 1890 support: 813 x 1130 mm frame: 1140 x 1468 x 137 mm 813 1130
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Hearnshaes date not known Etching and engraving on paper 1792 1997 image: 93 x 126 mm 93 126
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1828 1997 image: 154 x 219 mm 154 219
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Small Birds, including Pheasants, a Jay and a Swallow date not known Watercolour and ink on paper 1828 1996 support: 150 x 196 mm 150 196
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1834 1997 image: 155 x 219 mm 155 219
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1834 1997 image: 123 x 175 mm 123 175
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Etching and engraving on paper 1834 1997 image: 128 x 172 mm 128 172
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Teale; Duck; Feasant; Hawke; Cormorant; Bittour; Owle date not known Engraving and etching on paper 1834 1997 image: 209 x 296 mm 209 296
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Cock; Hen; Chicken; Dove date not known Engraving and etching on paper 1834 1997 image: 201 x 290 mm 201 290
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1833 1997 image: 124 x 175 mm 124 175
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Etching and graphite on paper 1840 1997 image: 124 x 175 mm 124 175
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Title Page: Birds and Fowles of Various Species Drawn after the Life in their Natural Attitudes date not known Engraving and etching on paper 1893 1997 image: 125 x 187 mm 125 187
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1893 1997 image: 126 x 187 mm 126 187
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1893 1997 image: 124 x 186 mm 124 186
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Hawks and Owls date not known Watercolour and graphite on paper 1893 1996 support: 139 x 200 mm 139 200
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Partridge; Feasant; Bustard; Jay; Woodpecker; Magpye; Snipe; Reedsparow; Kings Fisher; Lapwing; Woodcock date not known Engraving and etching on paper 1893 1997 image: 207 x 297 mm 207 297
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Cock, Hen and Sparrows 1680 Graphite, ink and watercolour on paper 1680 1997 support: 132 x 175 mm 132 175
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1734 1997 image: 125 x 189 mm 125 189
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Magpye; Sparrow; Turkye Cock; Dove; Cock; Hen date not known Engraving and etching on paper 1734 1997 image: 208 x 297 mm 208 297
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Woodecockes date not known Etching and engraving on paper 1656 1997 image: 91 x 127 mm 91 127
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1722 1997 image: 123 x 185 mm 123 185
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1868 1997 image: 124 x 188 mm 124 188
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Teale; Duck; Feasant; Hawke; Cormorant; Bittour; Owle date not known Engraving and etching on paper 1876 1997 image: 211 x 296 mm 211 296
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Patriges date not known Etching and engraving on paper 1886 1997 image: 90 x 128 mm 90 128
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Raven, Crowes and Magpyes date not known Etching and engraving on paper 1886 1997 image: 89 x 128 mm 89 128
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Raven, Crowes and Magpyes date not known Etching and engraving on paper 1822 1997 image: 89 x 128 mm 89 128
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1803 1997 image: 124 x 180 mm 124 180
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1891 1997 image: 137 x 195 mm 137 195
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom A Roller, Two Peregrine Falcons and a Long-Eared Owl with her Young date not known Oil paint on canvas 1891 1971 support: 1060 x 1372 mm frame: 1270 x 1580 x 90 mm 1060 1372
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1847 1997 image: 125 x 187 mm 125 187
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1847 1997 image: 124 x 187 mm 124 187
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1818 1997 image: 124 x 186 mm 124 186
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Etching on paper 1828 1997 image: 125 x 175 mm 125 175
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Lapwinks date not known Etching and engraving on paper 1828 1997 image: 91 x 126 mm 91 126
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Wilde Dookes date not known Etching and engraving on paper 1828 1997 image: 92 x 129 mm 92 129
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1828 1997 image: 206 x 292 mm 206 292
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Herons date not known Graphite and watercolour on paper 1828 1996 support: 139 x 198 mm 139 198
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1828 1997 image: 124 x 175 mm 124 175
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 125 x 190 mm 125 190
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 157 x 222 mm 157 222
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Hen; Cock; Hawke; Jay; Muscovia Duck; Raven; Cuckoo; Hoopoe date not known Engraving on paper 1684 1997 image: 204 x 293 mm 204 293
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Swans date not known Watercolour and graphite on paper 1684 1996 support: 138 x 197 mm 138 197
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 188 x 125 mm 188 125
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Etching and engraving on paper 1684 1997 image: 92 x 128 mm 92 128
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 126 x 176 mm 126 176
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Peacokes date not known Etching and engraving on paper 1684 1997 image: 92 x 129 mm 92 129
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 124 x 173 mm 124 173
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving on paper 1684 1997 image: 153 x 220 mm 153 220
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Title Page: Divers Species of Birds, Drawn after the Life, in their Natural Attitudes date not known Engraving and etching on paper 1684 1997 image: 128 x 187 mm 128 187
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Turkeys date not known Watercolour on paper 1684 1996 support: 139 x 201 mm 139 201
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Ape; Cassowary; Feasant; Ostrich; Swallow; Peacock; Peahen date not known Engraving and etching on paper 1684 1997 image: 208 x 297 mm 208 297
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Etching on paper 1684 1997 image: 126 x 176 mm 126 176
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Jay; Wood-Pecker; Woodcock; Bittern date not known Engraving and etching on paper 1684 1997 image: 146 x 217 mm 146 217
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 126 x 187 mm 126 187
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 122 x 168 mm 122 168
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 124 x 186 mm 124 186
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Falcon; Heron; Monkey; Vultur; Sea Gull; Eagle date not known Engraving and etching on paper 1684 1997 image: 208 x 296 mm 208 296
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Grebe and Gannets date not known Graphite and watercolour on paper 1684 1996 support: 137 x 199 mm 137 199
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom The Great Tom Tit date not known Engraving and etching on paper 1684 1997 image: 124 x 186 mm 124 186
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Gease date not known Etching and engraving on paper 1684 1997 image: 91 x 127 mm 91 127
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Stags date not known Graphite, watercolour and ink on paper 1684 1996 support: 195 x 250 mm 195 250
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 124 x 188 mm 124 188
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 125 x 188 mm 125 188
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 127 x 183 mm 127 183
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 126 x 174 mm 126 174
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom The Bass Island: Soland Goose; Heron; Sea Gull; Wild Duk; Curlew date not known Engraving and etching on paper 1684 1997 image: 206 x 294 mm 206 294
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Woodcocks date not known Watercolour on paper 1684 1996 support: 104 x 138 mm 104 138
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Etching and engraving on paper 1684 1997 image: 130 x 190 mm 130 190
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Pheasants date not known Watercolour and graphite on paper 1684 1996 support: 138 x 201 mm 138 201
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 127 x 190 mm 127 190
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Feasonts date not known Etching and engraving on paper 1684 1997 image: 90 x 125 mm 90 125
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Woodecockes date not known Etching and engraving on paper 1684 1997 image: 91 x 126 mm 91 126
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 125 x 178 mm 125 178
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 190 x 265 mm 190 265
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 127 x 181 mm 127 181
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Diversae Avium Species Studiosissime ad Vitam Delineatae 1658 Etching and engraving on paper 1658 1997 image: 126 x 171 mm 126 171
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Title Page: Animals of Various Species Accurately Drawn date not known Engraving and etching on paper 1684 1997 image: 133 x 175 mm 133 175
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 124 x 187 mm 124 187
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Ducks date not known Watercolour on paper 1684 1996 support: 132 x 192 mm 132 192
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Bustard; Peacock; Peahen; Stock Dove; Squirrell date not known Engraving and etching on paper 1684 1997 image: 207 x 294 mm 207 294
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving on paper 1684 1997 image: 122 x 167 mm 122 167
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Monkeys and Dogs Playing 1661 Oil paint on canvas 1661 1989 support: 1055 x 1320 mm frame: 1229 x 1525 x 85 mm 1055 1320
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Etching and engraving on paper 1684 1997 image: 127 x 187 mm 127 187
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 201 x 298 mm 201 298
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 125 x 160 mm 125 160
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Etching and graphite on paper 1684 1997 image: 126 x 175 mm 126 175
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Japan Peacock; Crane; Toucan; Parrat; Teale; Gambo Goose; Mallard; Pellican of India; B: of Paradice date not known Engraving and etching on paper 1684 1997 image: 206 x 295 mm 206 295
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Patriges date not known Etching and engraving on paper 1684 1997 image: 90 x 128 mm 90 128
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 123 x 187 mm 123 187
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 126 x 175 mm 126 175
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 125 x 186 mm 125 186
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Partridges date not known Graphite and watercolour on paper 1684 1996 support: 96 x 131 mm 96 131
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Wilde Goose; Goose; Gosling; Magpye date not known Engraving and etching on paper 1684 1997 image: 206 x 293 mm 206 293
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Ruffs date not known Engraving and etching on paper 1684 1997 image: 126 x 189 mm 126 189
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Eagles, Hawkes, and Owles date not known Engraving and etching on paper 1684 1997 image: 125 x 186 mm 125 186
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 119 x 168 mm 119 168
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Diversae Avium Species Studiosissime ad Vitam Delineatae date not known Etching and engraving on paper 1684 1997 image: 126 x 172 mm 126 172
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 125 x 187 mm 125 187
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 124 x 186 mm 124 186
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Title Page: Diversae Avium Species Studiosissime ad Vitam Delineatae date not known Engraving on paper 1684 1997 image: 194 x 289 mm 194 289
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Peacocks date not known Watercolour on paper 1684 1996 support: 136 x 196 mm 136 196
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Woodecockes date not known Etching and engraving on paper 1684 1997 image: 92 x 128 mm 92 128
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 122 x 186 mm 122 186
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Patriges date not known Etching and engraving on paper 1684 1997 image: 89 x 127 mm 89 127
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 126 x 188 mm 126 188
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 97 x 159 mm 97 159
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Title Page date not known Engraving and etching on paper 1684 1997 image: 201 x 296 mm 201 296
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Pheasant; Heathcock date not known Engraving and etching on paper 1684 1997 image: 125 x 170 mm 125 170
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom Pegions date not known Etching and engraving on paper 1684 1997 image: 92 x 128 mm 92 128
Barlow, Francis Male ?1626-1704 1626 1704 NA London, United Kingdom NA date not known Engraving and etching on paper 1684 1997 image: 125 x 186 mm 125 186
Barret, George, Senior Male 1728 or 32-1784 1728 1784 Dublin, Eire Dublin Eire London, United Kingdom River Scene with Watermill, Figures and Cows date not known Oil paint on canvas 1684 1974 support: 997 x 1248 mm 997 1248
Barret, George, Senior Male 1728 or 32-1784 1728 1784 Dublin, Eire Dublin Eire London, United Kingdom A Woodland Road, with Figures under Large Trees date not known Graphite and watercolour on paper 1684 1856 support: 260 x 421 mm 260 421
Barret, George, Junior Male 1767-1842 1767 1842 London, United Kingdom London United Kingdom London, United Kingdom Landscape with a Bridge date not known Watercolour and graphite on paper 1684 1974 support: 498 x 670 mm 498 670
Barret, George, Junior Male 1767-1842 1767 1842 London, United Kingdom London United Kingdom London, United Kingdom Coast Scene, Isle of Wight date not known Graphite, ink and watercolour on paper 1684 1997 support: 170 x 245 mm 170 245
Barret, George, Junior Male 1767-1842 1767 1842 London, United Kingdom London United Kingdom London, United Kingdom Storm Scene, Isle of Wight date not known Watercolour and ink on paper 1684 1997 support: 172 x 246 mm 172 246
Barret, George, Junior Male 1767-1842 1767 1842 London, United Kingdom London United Kingdom London, United Kingdom Composition: Sunset c.1825-30 Watercolour and gum arabic on paper 1825 1996 support: 222 x 183 mm 222 183
Barron, Hugh Male 1747-1791 1747 1791 NA The Children of George Bond of Ditchleys 1768 Oil paint on canvas 1768 1974 support: 1060 x 1397 mm frame: 1263 x 1595 x 85 mm 1060 1397
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom A Grecian Harvest Home first published 1792 Etching and line engraving on paper 1792 1983 image: 470 x 625 mm 470 625
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Judgment of Paris. Verso: Study for the Same Subject date not known Graphite and watercolour on paper. Verso: graphite on paper 1684 1997 support: 275 x 399 mm 275 399
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Glorious Sextumvirate 1795 Etching and line engraving on paper 1795 1992 image: 849 x 476 mm 849 476
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Detail of the Diagorides Victors first published 1795 Etching and engraving on paper 1795 1983 image: 770 x 508 mm 770 508
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Elysium and Tartarus first published 1792 Etching and line engraving on paper 1792 1992 image: 420 x 932 mm 420 932
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom William Pitt, Earl of Chatham 1778-1808 Etching, line engraving and aquatint on paper 1778 1992 image: 430 x 372 mm 430 372
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Self-Portrait, Three Quarters to Left date not known Graphite and ink on paper 1684 1997 support: 180 x 127 mm 180 127
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Scientists and Philosophers c.1804-5 Etching, line engraving and mezzotint on paper 1804 1992 image: 337 x 329 mm 337 329
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Job Reproved by his Friends 1777 Etching, line engraving and aquatint on paper 1777 1992 image: 568 x 764 mm 568 764
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom King Lear Weeping over the Dead Body of Cordelia 1786-8 Oil paint on canvas 1786 1962 support: 2692 x 3670 mm 2692 3670
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Phoenix or the Resurrection of Freedom 1776-1808 Etching, line engraving and aquatint on paper 1776 1992 image: 433 x 613 mm 433 613
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Jupiter and Juno on Mount Ida c.1804-5 Etching, line engraving and mezzotint on paper 1804 1992 image: 304 x 360 mm 304 360
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Birth of Venus 1776-1808 Etching, line engraving and aquatint on paper 1776 1992 image: 410 x 582 mm 410 582
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Lord Baltimore and the Group of Legislators 1793-1808 Etching and line engraving on paper 1793 1992 image: 745 x 470 mm 745 470
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom King Lear and Cordelia 1776 Etching, line engraving and aquatint on paper 1776 1992 image: 510 x 648 mm 510 648
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Distribution of Premiums in the Society of Arts first published 1792 Etching and engraving on paper 1792 1983 image: 430 x 528 mm 430 528
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Distribution of Premiums in the Society of Arts first published 1792 Etching and line engraving on paper 1792 1992 image: 420 x 504 mm 420 504
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom King George and Queen Charlotte first published 1792 Etching and line engraving on paper 1792 1992 image: 427 x 516 mm 427 516
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Philoctetes in the Island of Lemnos 1777-1808 Etching, line engraving and aquatint on paper 1777 1992 image: 454 x 372 mm 454 372
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Divine Justice c.1802 Etching and line engraving on paper 1802 1992 image: 752 x 504 mm 752 504
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Queen Isabella, Las Casas and Magellen 1800-8 Etching and line engraving on paper 1800 1992 image: 721 x 125 mm 721 125
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Fall of Satan 1777-1808 Etching, line engraving and aquatint on paper 1777 1992 image: 844 x 610 mm 844 610
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Satan and his Legions Hurling Defiance toward the Vault of Heaven c.1792-1808 Etching on paper 1792 1992 image: 865 x 508 mm 865 508
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Reserved Knowledge 1795-1808 Etching and line engraving on paper 1795 1992 image: 737 x 474 mm 737 474
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Study for ‘Philoctetes on the Island of Lemnos’ 1770 Ink and watercolour on paper 1770 1996 support: 210 x 286 mm 210 286
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Orpheus first published 1792 Etching and line engraving on paper 1792 1992 image: 416 x 498 mm 416 498
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Thames, or the Triumph of Navigation first published 1792 Etching and line engraving on paper 1792 1992 image: 421 x 505 mm 421 505
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Study of a Nude Recumbent Woman date not known Chalk and ink on paper 1684 1996 support: 335 x 526 mm 335 526
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Crowning the Victors at Olympia first published 1792 Etching on paper 1792 1992 image: 415 x 973 mm 415 973
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Satan, Sin and Death c.1792-1808 Etching on paper 1792 1992 image: 563 x 423 mm 563 423
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Temptation of Adam 1776-c.1790 Etching, line engraving and aquatint on paper 1776 1992 image: 633 x 404 mm 633 404
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Conversion of Polemon 1778-1808 Etching, line engraving and aquatint on paper 1778 1992 image: 576 x 859 mm 576 859
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Pandora c.1804-8 Etching and line engraving on paper 1804 1992 image: 640 x 944 mm 640 944
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Angelic Guards c.1802 Etching and line engraving on paper 1802 1992 image: 852 x 502 mm 852 502
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Sacra Christi Familia c.1776-1808 Etching, line engraving and aquatint on paper 1776 1992 image: 354 x 255 mm 354 255
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom The Thames, or the Triumph of Navigation first published 1792 Etching and engraving on paper 1792 1983 image: 457 x 562 mm 457 562
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Elysium and Tartarus first published 1792 Etching and engraving on paper 1792 1983 image: 524 x 925 mm 524 925
Barry, James Male 1741-1806 1741 1806 Cork, Eire Cork Eire London, United Kingdom Detail of the Diagorides Victors 1795-1808 Etching and line engraving on paper 1795 1992 image: 852 x 474 mm 852 474
Bateman, James Male 1815-1849 1815 1849 NA Highland Scene 1844 Oil paint on wood 1844 1981 support: 203 x 254 mm 203 254
Bates, Harry Male 1850-1899 1850 1899 Stevenage, United Kingdom Stevenage United Kingdom Saint John’s Wood, United Kingdom Pandora exhibited 1891 Marble, ivory and bronze on marble base 1891 1891 object: 1060 x 540 x 785mm 1060 540
Bates, Harry Male 1850-1899 1850 1899 Stevenage, United Kingdom Stevenage United Kingdom Saint John’s Wood, United Kingdom Sketch for War 1887 Plaster 1887 1900 object: 546 x 267 x 89 mm 546 267


Data Exploration and Analysis

We began by performing some exploratory data analysis on the artists in our datset. We attempted to answer some general questions shown below. This then led to some interesting findings which guided our hypothesis tests which helped inform our recommendation that although the Tate Museum has been acquiring a higher percentage of artwork by female artists, it is not closing the gap nearly fast enough. We then continued to do exploratory data analysis on the artwork in hopes of finding a correlation that can help us in identifying forms of artwork that are better represented by female artists.

PART I: ARTISTS EXPLORATION

How many artists and art pieces have appeared in Tate Modern?

In our exploratory phase we found that altogether 3337 artists are represented at Tate, totalling 69201 pieces of art. The art acquisiton started in 1823 up until 2013 (this dataset only shows records until 2013). The era of the artwork ranges from 1532 to 2012. Tate Modern is arguably regarded as one of the biggest contemporary art institution in the world.

Who are the top 10 most represented artists at Tate?

The top 10 most represented artists are shown below, with Turner, Joseph Mallord William leading the way with 39389 art pieces. The artwork from Turner, Joseph Mallord William far exceeds any other artist, and is nearly 20 times as much as even the 10th most represented artist, Warhol, Andy. It seems that Tate has obvious preferances in its choice of artists and artwork. Recognizing this preferance can help inform us on how to expand Tate’s art collection in the future. The summary of artist representation shows how bias the Tate collection is, and can help motivate an move towards diversification.

artist count
Turner, Joseph Mallord William 39389
Jones, George 1046
Moore, Henry, OM, CH 623
Daniell, William 612
Beuys, Joseph 578
British (?) School 388
Paolozzi, Sir Eduardo 385
Flaxman, John 287
Phillips, Esq Tom 274
Warhol, Andy 272

What is the gender distribution of the artists at Tate?

The bias in artist representation then led us to question the gender distribution of artists. What we found was a huge gap between male and female artists. Male artists contributed 65872 pieces of the artwork, while female artist account for only 2756 pieces of art. This shocking descrepancy motivated a deeper look at this gender difference.

## Female   Male   NA's 
##   2756  65872    767

This led us to question whethere this gap between male and female art acquisition was growing or shrinking throughout the years. To investigate this we found the number of artworks acquired per year (acsquisition year), and graphed it corresponding to gender of the artist. The graph below shows the results of this investigation. (We limited our acquisitiony year to the 20th century, because we found the data prior to 1900 to be very incomplete).

Is the gendergap growing or decreasing since the beginning of the 20th century?

In our plot above, we see an upward trend in the number of art pieces acquired throughout the years, but it is not immediately clear whether Tate is closing the gap between male and female artwork acquired, as artwork from both genders have grown in the 20th century. To investigate this further we calculated the difference in artwork acquired as well as the percentage difference in art acquisition by gender, and set our hypothesis that…

HYPOTHESIS: From year 1900 to 2013, the gap of male and female artists has been closing

The two graphs below tell us an interesting story. The number of male artwork acquired continues to out number female artwork, and is in fact growing. However, female artwork is actually growing as a percentage of all newly acquired art.

We found that since 1900, there has been a slight increase in the percent of female artwork acquired each year. The percent increase (or decrease of male dominance) is however, a slight 0.261%. If we consider the fact that in 1900, male artwork accounted for 6 times as much as female artwork, this slight increase is simply not happening fast enough. Our conclusion is therefore, that more effort needs to be made to procure female artwork if Tate hopes to create a more diverse representation of artists.

lm.differenceOfPercentage.years<-lm(Gendergap_new$DifferenceOfPercentage~Gendergap_new$acquisitionYear)
anova(lm.differenceOfPercentage.years)
## Analysis of Variance Table
## 
## Response: Gendergap_new$DifferenceOfPercentage
##                                Df  Sum Sq Mean Sq F value    Pr(>F)    
## Gendergap_new$acquisitionYear   1 0.83799 0.83799  51.807 7.449e-11 ***
## Residuals                     112 1.81164 0.01618                      
## ---
## Signif. codes:  0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1

PART II: ARTWORK EXPLORATION

What are the preferred media of choice for artwork at Tate?

The most common art media at Tate by far was Graphite on paper, accounting for 26167 pieces. While the second highest, Oil paint on canvas represented only 3383, which is only one fifth of the latter. To our surprise, Photograph, gelatin silver print on paper, a relatively a new art form, was within the top 10 with 751 pieces at Tate. Since the media surface types are so specific, we would like to find broader range categories (i.e. on paper, on wood, etc.)

medium count
Graphite on paper 26167
Oil paint on canvas 3383
Screenprint on paper 2984
Lithograph on paper 2721
Watercolour on paper 1890
Etching on paper 1793
Graphite and watercolour on paper 1680
Ink on paper 881
Intaglio print on paper 820
Photograph, gelatin silver print on paper 751

But we felt the media type was too specific, in fact there were 3401 unique types of media represented at Tate, far too many for reasonable regression. Instead we felt splitting the artwork to the material and the surface would give us a better understanding of the inventory, which we believe could be used for further analysis linking to gender (see last section). So we parsed the media field into materials and surface. The table of different surfaces are shown below.

material count
Graphite 26323
Oil paint 4301
Screenprint 3087
Lithograph 2766
Watercolour 1930
Etching 1834
Graphite and watercolour 1730
Ink 959
Photograph, gelatin silver print 821
Intaglio print 820
surface count
on paper 53405
on canvas 3806
Bronze 384
on board 346
Copper plate 319
on wood 283
on paper. Verso: graphite on paper 211
on on paper 125
on hardboard 83
on mahogany 79

What are the dimension and year distributions of the artwork at Tate?

As we are consulting Tate museum on their expansion, the sizes of the artwork is of importance to us, since space limitations are a concern, as is the era of the artwork. The quantile distributions are shown below, and generally speaking our analysis showed that about half of our artwork is distributed before 1831 and half after, and that the median artwork size was 27160 mm2.

Note:This exploratory analysis of our artwork inventory led of us our next hypothesis. We wanted to consider the possibility of correlating certain artwork features to a specific artist gender (namely female). If we can build a model that correlates features to female artists we can then advise Tate to seek out artwork with those requirements to increase the gender diversity.

HYPOTHESIS: There exists a correlation between the features we explored and gender of the artist

Before our data modeling we must transform our data to be used for machine learning. Because some of our categorical features (surface, media, country) have hundreds, if not thousands of different categories we have to reduce our categories to a reasonable size to output an interpretable result. Fortunately from our exploratory analysis above, we can see that the top 5 categories of these features account for roughly 85% to 90% of all our data. This then allows us to group the remaining categories into one group that we are calling ‘other’ (for reach feature).


We created a function to do just that. The function ‘category_reduce’ takes our dataframe, the feature to reduce, and the number of categories we want for that resultant feature. We use this function to reduce “country,” “media,” and “surface” to the top 5 categories before our machine learning modeling.

# Takes a dataframe and reduces the feature given by col_name to the top
# num_cat number of categories.
category_reduce <- function (data, col_name, num_cat = 5){

  temp <- data %>% 
    group_by_(col_name) %>% 
    dplyr::summarize(count = n()) %>% 
    arrange(desc(count)) %>% 
    slice(1:num_cat)
  
  temp <- as.vector(temp[[1]])
  
  data <- data %>% 
    mutate(temp_col = ifelse(!(data[[col_name]] %in% temp), 
                             " Other", 
                             as.character(data[[col_name]])))
  
  data[col_name] <- data$temp_col
  data <- subset(data, select = -temp_col)

  data[col_name] <- as.factor(data[[col_name]])
  return(data)
}

Because a number of our categorical features had hundreds if not thousands of categories, but were heavily skewed towards the top. The function above helps us reduce the categories within each categorical feature group (by grouping all the other items as ‘other’) to a managable level before we used it to train our model Generalized Linear Model. We decided a reduction to the top 5 countries, the top 10 surfaces, and the top 10 media, before training our model.

The code below shows how we trained our model to detect gender based on ‘country’, ‘year’, ‘surface’, ‘media’, and artwork ‘dimension.’ With the results shown below.

  model.fit <- glm(formula = gender ~ ., data = analysis_data, family = binomial())
  prediction <- predict(model.fit, type = "response")
  
  female_art <- rep("Female", nrow(analysis_data))
  female_art[prediction > .5] <- "Male"
  female_art <- as.factor(female_art)
  
  truth <- as.character(analysis_data$gender)
  predicted <- as.character(female_art)
  
  # truth <- c(temp)
  # predicted <- c(temp2)
  
  # Count is the number of female artists that our model predicted correctly
  count <- 0
  for (i in 1:length(truth)){
    if(truth[i] == "female" & predicted[i] == "female"){
      count <- count + 1
    }
  }

  summary(model.fit)
## 
## Call:
## glm(formula = gender ~ ., family = binomial(), data = analysis_data)
## 
## Deviance Residuals: 
##     Min       1Q   Median       3Q      Max  
## -4.2730   0.0530   0.0680   0.2696   0.9979  
## 
## Coefficients:
##                                             Estimate Std. Error z value
## (Intercept)                                4.916e+01  1.504e+00  32.689
## year                                      -2.373e-02  7.557e-04 -31.404
## country Eire                              -2.107e-01  2.989e-01  -0.705
## country France                            -1.083e+00  1.774e-01  -6.106
## country Other                             -6.166e-01  1.126e-01  -5.475
## country United Kingdom                    -8.276e-01  1.047e-01  -7.904
## country United States                     -1.007e+00  1.130e-01  -8.907
## area                                       3.126e-08  1.237e-08   2.528
## surfaceBronze                             -2.727e-01  1.754e-01  -1.555
## surfaceCopper plate                        1.227e+01  2.213e+02   0.055
## surfaceon board                            4.861e-02  2.119e-01   0.229
## surfaceon canvas                           1.346e-02  1.256e-01   0.107
## surfaceon hardboard                        3.450e-01  3.598e-01   0.959
## surfaceon mahogany                         1.299e+01  4.532e+02   0.029
## surfaceon on paper                        -1.395e-01  3.160e-01  -0.441
## surfaceon paper                            2.670e-01  7.210e-02   3.703
## surfaceon paper. Verso: graphite on paper -1.875e+00  4.137e-01  -4.531
## surfaceon wood                             4.140e-01  3.621e-01   1.143
## mediaEtching                               1.239e+00  1.315e-01   9.423
## mediaGraphite                              1.136e+00  1.700e-01   6.685
## mediaGraphite and watercolour             -3.631e-01  2.586e-01  -1.404
## mediaIntaglio print                        1.764e+00  2.849e-01   6.191
## mediaLine engraving                        1.245e+01  1.579e+02   0.079
## mediaLithograph                            5.437e-02  7.256e-02   0.749
## mediaOil paint                            -7.563e-02  1.244e-01  -0.608
## mediaPhotograph, gelatin silver print      2.365e-02  1.108e-01   0.213
## mediaScreenprint                           1.293e+00  9.975e-02  12.968
## mediaWatercolour                          -1.321e-01  2.443e-01  -0.541
##                                           Pr(>|z|)    
## (Intercept)                                < 2e-16 ***
## year                                       < 2e-16 ***
## country Eire                              0.480819    
## country France                            1.02e-09 ***
## country Other                             4.38e-08 ***
## country United Kingdom                    2.69e-15 ***
## country United States                      < 2e-16 ***
## area                                      0.011482 *  
## surfaceBronze                             0.119982    
## surfaceCopper plate                       0.955804    
## surfaceon board                           0.818520    
## surfaceon canvas                          0.914686    
## surfaceon hardboard                       0.337650    
## surfaceon mahogany                        0.977140    
## surfaceon on paper                        0.658942    
## surfaceon paper                           0.000213 ***
## surfaceon paper. Verso: graphite on paper 5.86e-06 ***
## surfaceon wood                            0.252901    
## mediaEtching                               < 2e-16 ***
## mediaGraphite                             2.32e-11 ***
## mediaGraphite and watercolour             0.160272    
## mediaIntaglio print                       5.98e-10 ***
## mediaLine engraving                       0.937141    
## mediaLithograph                           0.453674    
## mediaOil paint                            0.543181    
## mediaPhotograph, gelatin silver print     0.830997    
## mediaScreenprint                           < 2e-16 ***
## mediaWatercolour                          0.588638    
## ---
## Signif. codes:  0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1
## 
## (Dispersion parameter for binomial family taken to be 1)
## 
##     Null deviance: 18238  on 56712  degrees of freedom
## Residual deviance: 13195  on 56685  degrees of freedom
## AIC: 13251
## 
## Number of Fisher Scoring iterations: 16

Model Interpretation

What the results of our model above tells us is that training a model to identify gender based off of the features we used above simply is not very effective in identifying female artists. Few of the features are statistically significant and when we did a cross-validation of the trained models accuracy we found that it made 0 predictions of female artists. That is, there were no permutation of features sets where female artists were more represented in than male artists. The bottom line is that if we want to acquire more female artwork it is very difficult to seek it out through the medium of artwork, the country of origin, the year of production, or the size of the artwork (or any combination of those 4 things). The only way to cultivate gender diversity is to support more female artists.

Conclusion:

In conclusion, what we found was that there exists a significant gender gap in the artwork that is represented at the Tate. And although the representation of female artists has grown, as a percentage of newly acquired art, it is simply growing too slowly (.2% per year) to reach 50/50 parity anytime soon. We also fonud that trying to identify female artwork through a number of combined features is impossible, therefore we could not simply focus on artwork that is say ‘from the UK, in the 1870’s, of a particular medium,’ to find more female artists. Male artists, at least in the genre represented by Tate, is dominated by men.

This leads us to conclude that if Tate wants to improve gender diversity in its art collection, it needs to make explicit attempts at finding female artists, and unapologetically acknowledge that, regardless of medium, origin, or era, they want female artwork.